Aug 11 2009
Quilling Experiment — Puffy Markers
Puffy Velvet Fabric Markers by Marvy® Uchida are, as the name clearly indicates, made for fabrics. However, paper crafters have discovered these markers and the product packaging now states that they are also “great for paper crafts.” I was introduced to these markers through a very creative Yahoo! Group I belong to called the Scrapbook Lounge and have long wondered if the markers could be used with quilling. Now that I have my blog I just had to buy some and try it — all in the name of research, you understand. LOL!!!
Fig. 1
Like many markers on the market, when you first open one, you need to shake it and then press the tip down on some scrap paper so the color can fill the tip. Once the color flows, you are good to go.

Fig. 2
After letting it dry for 30 minutes per the instructions, I heated it with the heat gun and it puffed — a lot (Fig. 2). While I didn’t like it enough to use it on my quilling, I found the effect very interesting and wanted to give it another try. I quilled another rose bud and applied the fabric paint, but this time I immediately patted it with a paper towel to remove any excess paint.

Fig. 3
When I applied the heat gun, it didn’t puff nearly as much (Fig. 3). The instructions tell you not to rub it after the puff-up effect is achieved, but I just had to touch it and it does, indeed, feel very soft and velvety. I thought that this rose was worthy of finishing and made it into a card, just like I did with the plain one.

Fig. 4
You’ll see in Fig. 4 that the top rose is plain for comparison. The middle rose has the puffy paint on, but it just didn’t do anything. Trying to be fair, I made another yellow rose and gave it go. In trying to get the paint to puff, you can see that I held the heat gun on the rose too long and burned the paper. Oops! I really don’t know if the problem is with the puffy paint marker or the user.










Spread a very thin layer of glue as large as your quilllwork onto a flat surface like a plate or plastic lid. Using a pair of tweezers, pick up your quilling, touch the bottom edges of the paper to the glue, then place it on the desired backing. A thin glue (such as Elmer’s) works best for this technique. If you normally use a thick, tacky glue for quilling, you might try thinning it with a drop or two of water. You want the glue thin enough to spread thinly and evenly over your flat work surface. A foam brush helps to spread the glue. If the glue is too thick, the loose center of the coils will stick to the gluing surface, pulling them apart and ruining your piece. This method works especially well when tendrils and vines are part of the design. Once you have the glue on the back of your quillwork, you need to attach it exactly where you want it. If you try and slide your quilling into the correct placement, you will leave glue smudges. Any glue you see will turn shiny and even though it is clear, it will be noticeable.
You can also use a small paintbrush to paint the glue onto the back of your quilling. Use care in touching only the bottom edges of the paper with the glue to avoid unwanted globs or smudges. Again, a thinner glue is easier to spread with the paintbrush. Tweezers are useful to help hold the quilling and assist in placement when glued.
I actually don’t use either of these methods. I spread glue on the back of my quilling using a toothpick. I pick up a little glue on the tip of the toothpick and roll the toothpick over the quills. Depending on the design, I apply glue to the tight rolls and centers of the quills to allow a little more “wiggle room” when placing the quilling on my background. If glue is not over the entire back, I can slide the quilling just a tad if needed without the glue showing. If I do end up with a bit of glue on the background, I slightly moisten a fresh toothpick (you don’t want it dripping) and gently wipe up the glue.
The beauty of this system is that it not only allows me to capture a brief description of my idea, but to include a sketch, crude as it may be, or attach the actual picture that provided the original inspiration. I scanned one of my cards to show you what I mean. It’s not “pretty” and I certainly had no idea at the time I made it that anyone else would ever see it, but I think it accurately
July 4
Along with a bit about the background history of this fascinating art form, I’ll introduce you to the tools and supplies you’ll need to get started. Then its time to learn the basics of quilling –coils and scrolls — and how to assemble your completed piece of
The trunk of the palm tree is made from a coil called a “rectangle” because it is, well, a rectangle. To make this quill, roll a loose coil and pinch it into a marquise. Next, move the marquise slightly between your thumbs and index fingers and pinch again, forming two more points near the original ones. You should now have a rectangle quill that has two long sides and two short sides.
We’ll also be playing with a new tool — a paper
Finally, I want to show you a bit about
Free Quilling Pattern – Palm Tree & Small Goldfish
A simple, temporary board can be made from any
For symmetrical work, a design grid can be created from a piece of graph paper cut to fit your quilling
Loose Scroll: Using your quilling tool of choice, loosely roll a strip into a coil. Remove the quilling tool and allow the roll to uncoil. Do not glue.



